wed 11/12/2019

alexandra coghlan

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Bio
Alexandra is the classical music critic of the New Statesman, and has written on arts for The Times, The Independent, The Guardian, Prospect, Gramophone, Opera Now, The Oxford Times and The Monthly. She was formerly Performing Arts Editor at Time Out, Sydney. She writes about classical music, theatre and film for theartsdesk.

Articles By Alexandra Coghlan

Der Freischütz, Barbican review - Gothic chills rooted in flesh and earth

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Zauberland, Linbury Theatre review - an adaptation that adds much and gains nothing

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theartsdesk at Itinéraire Baroque 2019 - a musical journey through the Périgord

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Il Segreto di Susanna/Iolanta, Opera Holland Park review - superb singing, mixed staging

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Trouble in Tahiti/A Dinner Engagement, Royal College of Music review - slick, witty and warm

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A Midsummer Night's Dream, Nevill Holt Opera review - sprinkled with musical fairy-dust

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Un ballo in maschera, Opera Holland Park review - evocative and sensationally sung

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Falstaff, The Grange Festival review - belly laughs and bags of fun

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Agrippina, Barbican review - over-the-top comic brilliance

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Brockes-Passion, AAM, Egarr, Barbican review - fleshly Handel for our earthbound times

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Judith, Royal Festival Hall review - a musical curiosity gets a rare airing

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The Merry Widow, English National Opera review - glitter but no sparkle

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The Monstrous Child, Royal Opera, Linbury Theatre review - fresh operatic mythology for teenagers

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Akhnaten, English National Opera review - still a mesmerising spectacle

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Anthropocene, Hackney Empire review - vivid soundscapes but not quite enough thrills

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War Requiem, English National Opera review - a striking spectacle, but oddly unmoving

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Mark Lanegan Band, Roundhouse review - rocking reiteration o...

It’s not about spontaneity. Bar switching the order of a couple of songs at the beginning and during the encore, the set was the same as a couple...

The Duchess of Malfi, Almeida Theatre review - a radically o...

This play can be a challenge for modern audiences: a woman...

Traces, Alibi review - pedigree cast battles implausible plo...

Alibi is usually your one-stop shop for re-runs of Father Brown or Death in Paradise, so well done them for commissioning this...

How They Built the Titanic, Channel 5 review - the great lin...

The appalling fate of the allegedly unsinkable liner Titanic in 1912 has fuelled endless feature films and...

CD: Robbie Williams – The Christmas Present

Here’s some Christmas cheer for you –...

Charpentier Christmas settings, Solomon's Knot, St John...

There is no mention of Marc-Antoine Charpentier in David Cairns's comprehensive Berlioz biography. It seems extraordinary that the master of the...

Dido, Maida Vale Studios review - old hits bring unresolved...

She’s back. Dido stopped touring in 2004 and stayed away from it for 15 years. But since starting again in March of this year, she has gone at it...

Radio & Juliet/Faun/McGregor + Mugler, London Coliseum r...

A pas de deux is normally an opportunity for two dancers to express the pinnacle of their skill and...

Les Arts Florissants, Christie, Agnew, Barbican review – spl...

“How many times have you heard the conductor sing?”...